Tag Archives: 3D Model

There is an interview on CG Record with Piotr Jaworowski the Executive Creative Director at Warsaw based agency, Ars Thanea, where he details how two giant illustrations were prepared for the world premier of Assassin’s Creed IV: Black Flag. Commissioned by Ubisoft, for a promotional event featuring skyscrapers covered with gigantic the printouts, more than a dozen people worked on the project for about two months.

We started with the sketch Ubisoft had sent us, and expanded it using our creativity … then it was the standard process: we made a composition, 3D and corrections. But it was the size, and the amount elements that proved to be the hardest part to work on. Both scenes are very complicated composition-wise. There is an immense number of details in this illustration. We modelled them all in 3D: elements of the ship, ropes, human figures. Flags and masts are fabric simulations.

Sony Computer Entertainment have published a Making Of Beyond: Two Souls development video. The behind the scenes documentary shows how the extensive performance capture created every second of movement in the game, from basic character actions and facial movements to fight scenes and action sequences. The graphics section covers the art direction for the games locations, action sequences and the character design, which had to develop along the fifteen year story arc.

In this latest video posted by Sony, they go behind the scenes of Beyond: Two Souls, this time taking a look at the graphics aspect of the much anticipated upcoming game by Quantic Dream. They’ve also got the third of beyond two souls four part ‘Making Of’ series, which details the huge undertaking that was the year-long performance capture shoot.

Read on to watch the Making Of Beyond: Two Souls video and see concept art and screenshots of the game in development.

Autodesk have published some Splinter Cell: Blacklist development videos in their Digital Entertainment & Visualisation Community website, Area. They explain how using tools like 3DS Max, MotionBuilder and Scaleform, Ubisoft Toronto has taken the latest generation of Splinter Cell to the next level.​

In the first video the designers discuss the importance of building game UI seamlessly into the game world in the most natural way possible to improve gameplay experience. In the second they discuss the process and tools they used to create the most realistic Sam Fisher to date. Combined with full motion and facial capture, Ubisoft used a pipeline including 3ds Max and MotionBuilder to ensure that the game’s characters move fluidly no matter how acrobatic the player wants to be.​

Read on to see screenshots of the game in development and see the video series on Ubisoft’s Splinter Cell: Blacklist.

The Crew is a community-based action-driving game set in a massive open-world, developed by Ivory Tower for next-gen consoles and high-end PC, in partnership with Ubisoft Entertainment.

Unit Image, creators of the cinematic trailer, have not given any details of the tools or pipeline used for the VFX piece, but they have released a ‘making of’ video. It shows several scenes from the trailer in different rendered states such as wireframe model, untextured with global illumination, textures and lighting, and particles and effects.

Read on to see The Crew trailer, the ‘making of’ video and high res screenshots.

The artwork from the immensely succesful The Last Of Us just keeps on coming, demonstrating just how much hard work and talent it takes to create a ‘triple A’ game. We’ve already seen how the infected characters have been developed in The Last Of Us Development Series, but now we can take a closer look at the ZBrush sculpting work of Mike Svymbersky.

Mike Svymbersky worked with Naughty Dog to model the fungicidal zombies as well as helping to create the games’ gore systems. Nice.

Autodesk have uploaded a fascinating presentation by Judd Simantov on the character rigging and modelling techniques used by Naughty Dog in the upcoming survival action game, The Last of Us.

Judd Simantov, 3D artist and Co-founder of Game Character Academy, presents his work on Naughty Dog’s latest project, The Last of Us. His presentation shows the techniques he used in modeling and rigging the game’s primary characters, and he covers special considerations for artists who want to maximize realism and evoke an emotional response from players.

To follow on from the God Of War: Ascension post, Trion Worlds artist Satoshi Arakawa has posted up character art models from the genre crossing MMO game and TV show Defiance on the same forum, ZBrushCentral. It features a variety of rendered character, creature and robot models, comparing high/low poly and textured/untextured states. It’s great to see the effort and skill that goes into creating the inhabitants of a game like Defiance.

The featured artists are Satoshi Arakawa, John Gotch, Nathan Brock and Allan Lee. Read on to see some of the character art from the thread.

Patrick Murphy from Sony’s Santa Monica Studio has showcased some incredible character models from God of War: Ascension. The software used to sculpt these exceptionally detailed models is Pixologic’s digital sculpting and painting program ZBrush. These and many more awesome character and environment renders have a thread over on ZBrush Central, featuring work by Murphy along with James VanDenBogart, Katon Callaway, Bryan Wynia, Dustin Blattner, Nick Reynolds, Jose Zavala and Jay Machado.

Verold Studio is a platform for publishing interactive 3D on the web. It allows you to export your models, from your favourite 3D modeling tool, to a project in Verold Studio. Use the collaboration tools to review your assets with stakeholders in real-time, and the presentation engine to publish your creations to your website or blog for the world to experience in glorious 3D.

This could prove to be an invaluable tool for 3D artists and outsource managers. Those seeking to present their portfolio online can simply upload their work and include it on their site with a simple piece of javascript. Meanwhile outsource managers seeking to evaluate freelance work can use the Verold Studio to assess 3D models and textures privately in real-time. What do you think? Has Verold got potential?